THE  EMILY  JOHNSTON  DE  FOREST 
COLLECTION  OF 

MEXICAN  MAIOLIC A 


* 


THE  EMILY  JOHNSTON  DEFOREST 
COLLECTION 
OF 

MEXICAN  MAIOLICA 


THE  METROPOLITAN  MUSEUM  OF  ART 


THE  EMILY  JOHNSTON  DE  FOREST 
COLLECTION 
O F 

MEXICAN  MAIOLICA 

CATALOGUE 

BY 

EDWIN  ATLEE  BARBER 


FIRST  EXHIBITED 

AT  THE  HISPANIC  SOCIETY  OF  AMERICA 
FEBRUARY  l8  TO  MARCH  19,  I 9 I I 

NEW  YORK 
M c M X X I I 


COPYRIGHT,  I9II,  BY 
THE  HISPANIC  SOCIETY  OF  AMERICA 


COPYRIGHT,  1918,  BY 
THE  METROPOLITAN  MUSEUM  OF  ART 
WITH  THE  PERMISSION  OF 
THE  HISPANIC  SOCIETY  OF  AMERICA 


PREFACE 

IN  presenting  this  collection  of  Mexican  maiolica  to  The 
Metropolitan  Museum  of  Art,  I wish  to  say  a few  words  re- 
specting its  formation  and  its  first  exhibition  at  The  Hispanic 
Society  of  America. 

My  attention  was  first  called  to  this  phase  of  Spanish  art  in 
Mexico  on  the  occasion  of  a visit  to  that  country  in  1 904.  Whether 
any  art  collectors  in  Europe  were  then  familiar  with  Mexican 
maiolica,  I do  not  know.  I do  know  that  I myself  had  never 
seen  any  examples  of  it  and  that  it  was  not  to  be  found  in  any  of 
our  American  museums. 

Among  my  friends  in  Mexico  and  their  acquaintances  were 
some  who  had  gathered  together  small  collections,  the  most  im- 
portant and  notable  being  that  made  by  Mr.  Albert  Pepper. 
During  my  stay  I succeeded  in  obtaining  a number  of  pieces. 
Afterward  many  others  were  bought  for  me  by  my  friend,  Mrs. 
Zelia  Nuttall,  and  through  her  I secured  later  on  the  collection 
of  Mr.  Pepper. 

Shortly  after  my  return  from  Mexico  I showed  to  my  friend, 
Dr.  Edwin  AtLee  Barber,  some  of  the  specimens  1 had  brought 
home  with  me.  They  interested  him  greatly — so  much,  indeed, 
that  in  1907  he  made  a special  trip  to  Mexico  to  obtain  a collec- 
tion for  the  Pennsylvania  Museum,  of  which  he  was  the  Director, 
and  he  secured  at  the  same  time  a great  deal  of  information  about 
the  history  of  this  art  in  Mexico.  I am  indebted  to  him  for  much 

vii 


THE  METROPOLITAN  MUSEUM  OF  ART 


assistance  and  especially  for  the  opportunity  to  purchase  what  he 
considered  the  finest  and  rarest  piece  in  my  whole  collection — 
a blue  and  white  lavatory  with  an  inscription  on  the  border,  the 
date  of  w hich  he  placed  at  about  1650. 

When  Mr.  Archer  M.  Huntington,  President  of  The  Hispanic 
Society  of  America,  saw7  my  maiolica,  he  asked  whether  his  So- 
ciety  might  exhibit  it.  To  this  I gladly  assented,  and  the  entire 
collection  w7as  shown  for  the  first  time  in  February,  19 1 1,  at  The 
Hispanic  Society. 

The  collection  as  now  shown  is  somewhat  smaller  than  that 
exhibited  at  the  Hispanic  Museum,  all  the  pieces  which  were 
more  or  less  similar  having  been  omitted. 

When  the  question  of  preparing  a catalogue  for  that  exhibi- 
tion came  up,  I asked  Dr.  Barber,  who  had  made  himself  the 
authority  on  the  subject  of  this  maiolica,  to  prepare  it.  He 
wrote  the  introductory  notes  and  the  descriptions  (all  of  which 
are  reprinted  in  the  present  edition,  with  very  slight  additions 
and  emendations).  The  Hispanic  Society  had  the  most  interest- 
ing objects  photographed,  and  printed  the  illustrated  catalogue 
as  one  of  itsowm  publications.  Mr.  Huntington  and  the  Trustees 
of  the  Society  have  now  very  graciously  permitted  their  cata- 
logue to  be  used  by  The  Metropolitan  Museum  of  Art  in  a newT 
edition,  w7hich  conforms  in  its  general  style  to  the  regular  publi- 
cations of  the  Museum. 

The  cover  design,  vignette  on  the  title-page,  and  head-bands 
used  for  decoration  in  this  catalogue  have  been  drawn  from  the 
objects  themselves,  and  by  their  variety  and  charm  suggest  the 
wealth  of  artistic  material  to  be  found  in  the  collection. 

Emily  Johnston  de  Forest. 


viii 


MEXICAN  MAIOLICA 


INTRODUCTORY  NOTES 

THE  glazing  of  earthenware  with  oxid  of  tin  is  now  believed 
to  be  of  Saracenic  origin,  having  first  been  introduced  into 
Egypt  and  Persia  by  the  Arabs,  who  afterward  carried  the  art 
into  Morocco,  whence  it  was  taken  by  the  Moors  into  Spain. 
Workmen  who  went  from  Spain  to  Italy  established  the  art  in 
the  latter  country.  It  next  appeared  in  France,  at  Nevers  and 
other  places,  and  soon  after  in  Holland  and  Germany,  gradually 
spreading  to  almost  every  section  of  the  Continent  and  into 
England. 

It  was  not  known  to  ceramic  writers  until  five  or  six  years 
ago  that  tin-enameled  pottery  had  ever  been  produced  in  the 
Western  Hemisphere.  Isolated  examples  of  maiolica  had  been 
brought  back  by  American  tourists  in  Mexico  from  time  to  time, 
but  these  were  supposed  to  be  of  Spanish  workmanship  and  were 
known  as  Talavera  ware.  Writers  have  frequently  described  the 
elaborate,  and  often  remarkable,  tile-work  of  the  old  churches, 
convents,  and  other  religious  foundations  of  that  country,  with 
scarcely  a thought  as  to  its  origin.  Recent  investigations,  how- 
ever, have  resulted  in  the  discovery  that  true  stanniferous  faience 
was  made  in  Mexico  by  Spanish  potters  and  their  native  pupils 
as  early  as  the  sixteenth  century,  and  continued  to  be  produced 
on  a considerable  scale  until  the  present  time.  The  ancient  seat 


IX 


THE  METROPOLITAN  MUSEUM  OF  ART 


of  the  manufacture  was  Puebla,  and  for  more  than  three  cen- 
turies that  city  enjoyed  a monopoly  of  the  maiolica  industry. 

Puebla,  or  La  Puebla  de  los  Angeles  (the  Town  of  the  Angels), 
was  founded  as  a new  city  by  the  Spaniards  in  1532.  At  the 
beginning  of  the  seventeenth  century  its  manufactures  of  cotton, 
wool,  glassware,  and  pottery  had  been  firmly  established  and 
were  famed  throughout  New  and  Old  Spain.  Unglazed  pottery 
had  been  produced  by  native  workmen  since  the  time  of  the 
Conquest,  but  glazing  was  not  introduced  until  potters  were 
brought  from  Spain.  Consul-General  A.  M.  Gottschalk,  lately 
of  Mexico  City,  in  a recent  report  to  the  State  Department  at 
Washington,  states:  “In  the  early  days  of  Puebla’s  history  the 
Dominican  friars,  struck  by  the  aptitude  of  their  Aztec  parish- 
ioners at  making  crude  native  pottery,  and  desirous  also  of  ob- 
taining tiles  for  the  monastery  and  church  which  they  were 
building,  sent  word  to  the  Dominican  establishment  at  Talavera 
de  la  Reina,  in  the  province  of  Toledo,  Spain,  that  they  could 
make  good  use  of  five  or  six  of  the  brotherhood  who  were  ac- 
quainted with  the  Spanish  process  of  pottery-making,  if  such 
could  be  sent  to  them.  Accordingly,  a number  of  Dominican 
friars,  familiar  with  the  clay -working  process  in  use  at  Tala- 
vera, were  assigned  to  the  Puebla  house  of  their  order,  and  under 
them  were  trained  a generation  of  workmen  who  for  the  first 
few  succeeding  years  produced  some  excellent  pieces.” 

By  1653  the  maiolica  industry  of  Puebla  had  grown  to  such 
proportions,  without  restriction  of  any  sort,  that  it  became  ad- 
visable to  organize  an  association  for  the  mutual  protection  and 
assistance  of  the  master  potters.  Accordingly,  a Potters’  Guild 
was  established  in  this  year,  records  of  which  have  been  found 
among  the  official  archives  of  the  city.  The  laws  which  were 
adopted  regulated  the  preparation  of  clays  and  glazes,  the  quali- 
ties of  the  different  grades  of  pottery,  the  character  of  the  dec- 
orations, the  sizes  of  household  utensils,  and  the  sale  of  wares, 
and  required  the  marking  of  each  piece  with  the  initials  or 
monogram  of  the  maker,  penalties  being  provided  for  the  coun- 
terfeiting or  falsification  of  the  trade-marks. 


x 


MEXICAN  MAIOLICA 


The  first  examiners  of  the  guild  (in  1653),  before  whom  every 
applicant  was  required  to  appear  to  prove  his  qualifications  and 
eligibility  to  membership,  were  Diego  Salvador  Carreto,  Damian 
Hernandez,  and  Andres  de  Haro.  A few  years  later  (ap- 
parently in  1662)  Antonio  Marques  of  Santillana,  Spain,  one 
Roque  of  Talavera,  Spain,  and  Jose  Ramos,  master  potters  of 
Puebla,  represented  the  guild  in  petitioning  the  city  to  turn  over 
to  that  organization  the  originals  of  the  laws  relating  to  the 
trade,  and  setting  forth  the  rights,  privileges,  and  obligations 
of  the  members.  These  decrees  remained  in  force  until  1676  and 
possibly  later.  After  the  latter  date,  however,  the  organization 
appears  to  have  languished,  since  no  subsequent  record  has  been 
discovered  in  the  books  of  the  corporation  of  the  city,  and  the 
provisions  for  the  protection  of  the  craft  were  apparently  no 
longer  enforced. 

Several  influences  were  at  work  in  the  seventeenth  century 
in  developing  the  art  of  maiolica-making  in  Mexico.  The  ear- 
liest pieces  which  are  known  to  us,  produced  before  1700,  are 
embellished  with  strapwork  and  scrolled  patterns  in  Moresque 
style.  An  excellent  example  of  this  variety,  from  the  lavatory 
of  the  old  convent  of  San  Francisco  at  Atlixco,  is  a laver,  or 
basin,  some  twenty  inches  in  diameter,  decorated  in  dark  blue 
outlined  with  black,  now  in  the  collection  of  the  Pennsylvania 
Museum  in  Philadelphia.  A similar  specimen,  owned  in  Mexico, 
bears  around  the  margin  the  explanatory  inscription,  “Soy  para 
labar  los  sacryfycadores  y no  mas”  (“  I am  for  washing  the  sacri- 
fices [hands]  and  for  nothing  else”).  The  most  important  work 
of  this  character,  however,  is  probably  the  dado  in  the  Chapel 
of  the  Rosary,  belonging  to  the  Church  of  Santo  Domingo  in 
Puebla  (erected  in  1690),  which  consists  of  tin-enameled  tiles 
painted  with  a strapwork  design  in  blue  and  white,  alternating 
with  panels  of  other  tiles  embossed  with  patterns  in  Moorish 
taste. 

The  Spanish  influence  naturally  impressed  itself  upon  the 
glazed  pottery  of  Mexico  at  an  early  date,  through  the  crafts- 
men who  were  brought  from  Talavera  and  other  places  in  Spain. 


xi 


THE  METROPOLITAN  MUSEUM  OF  ART 


From  about  1600  to  1650  the  Spanish  style  of  painting,  by  which 
we  mean  the  introduction  of  birds  and  animals  and  figures  of 
saints  among  the  decorative  motives,  largely  preponderated.  But 
about  the  middle  of  the  seventeenth  century  the  extensive  im- 
portation of  Chinese  porcelains  into  Mexico,  through  the  port  of 
Acapulco,  began  to  stimulate  the  artistic  zeal  of  the  Pueblan 
potters,  who  soon  commenced  to  imitate  the  Oriental  forms  and 
paintings,  and  rapidly  developed  a pseudo-Chinese  style,  which 
continued  until  about  the  middle  of  the  following  century. 

By  the  beginning  of  the  nineteenth  century  the  Chinese  in- 
fluence had  entirely  disappeared,  and  the  later  debased  poly- 
chrome style  of  the  Talavera  maiolica,  which  was  developed  in 
Spain  in  the  latter  part  of  the  eighteenth  century,  was  adopted 
in  Mexico,  which  marked  the  beginning  of  the  decadence  of  the 
art.  New  colors  were  introduced,  and  the  products  of  the  His- 
pano-Mexican  period,  which  continued  from  about  1800  to  i860, 
became  gaudy  and  flamboyant,  and  over-decoration  vulgarized 
the  ware. 

Since  this  art  was  introduced  into  Mexico  by  the  priesthood, 
we  may  naturally  expect  to  find  in  the  ecclesiastical  edifices  of 
that  country  the  best  work  of  the  early  craftsmen.  Here  were 
placed  the  most  intricate  designs  in  tile-work,  such  as  friezes 
and  panels,  made  to  fill  special  orders;  entire  facades  of  churches 
and  convents  were  covered  with  tiles  in  the  most  elaborately 
executed  patterns;  tile-incrusted  domes  in  many  colors  were 
often  surrounded  by  glazed  statuettes;  wall  mosaics  of  great 
size  were  painted  with  scriptural  and  legendary  scenes;  extensive 
lavatories  with  enormous  maiolica  basins  beautifully  decorated 
were  erected  for  the  use  of  the  clergy;  baptismal  and  holy- water 
fonts,  and  services  for  the  tables  of  the  convents  and  other  relig- 
ious houses,  were  produced  in  great  abundance. 

Having'  executed  the  more  pressing  orders  of  the  priests,  the 
potters  were  free  to  supply  the  needs  of  the  people,  and  vast 
quantities  of  articles  were  produced  for  household  use,  such  as 
bath-tubs  or  cisterns,  covered  dishes,  bowls,  basins,  benitiers, 
inkstands,  sand-sprinklers,  salt-cellars,  candlesticks,  and  large 

xii 


MEXICAN  MAIOLICA 


jars  for  storing  liquids,  vanilla,  chocolate,  and  other  foods. 
Among  the  objects  most  frequently  met  with  are  tall,  cylindrical 
vessels,  of  the  form  of  the  Spanish  and  Italian  albarelli,  which 
were  used  to  hold  drugs,  but  more  frequently  served  as  recep- 
tacles for  cut  flowers,  which  have  always  been  cultivated  in  great 
profusion  by  the  Mexicans,  and  jardinieres  and  flower-pots  in 
the  forms  of  barrels  and  urns,  for  growing  plants,  which  were 
placed  in  the  gardens  or  set  on  the  balconies  around  the  four 
sides  of  the  patios,  or  inner  courts. 

The  dwellings  of  the  wealthier  classes  were  frequently  beau- 
tified, both  externally  and  internally,  with  tile-work  of  attractive 
designs  and  colorings.  Panels  painted  with  figures  of  saints, 
coats  of  arms,  and  inscriptions  were  set  in  the  walls  of  apart- 
ments and  staircases  and  over  the  entrances  to  the  courts.  In 
many  of  the  cemeteries  tiles  were  also  used  in  the  ornamenta- 
tion of  graves  and  tombstones.  Some  of  these,  painted  with 
figures  of  saints,  may  still  be  found  in  place. 

We  learn  from  the  records  of  the  Potters’  Guild,  preserved  in 
the  archives  of  the  city  of  Puebla,  that  three  varieties  of  pottery 
were  fabricated,  “the  fine,  the  common,  and  the  yellow,  such 
as  jars,  pots,  vases,  pans,  strainers,  etc.”  It  was  decreed  that 
“no  one  can  manufacture  pottery,  either  fine  or  common,  with- 
out passing  the  examination  required  in  the  kind  of  pottery  he 
expects  to  make.  He  may  only  make  the  kind  in  whose  manu- 
facture he  is  examined,  unless  perchance  his  examination  has 
been  on  all.” 

It  was  also  specified  that  the  fine  pottery  should  be  “painted 
in  blue  and  finished  in  black  with  dots  along  the  borders  and 
edges,  . . . and,  in  order  that  there  may  be  variety,  the  other 
style  of  decoration  for  this  fine  ware  shall  he  in  imitation  of  the 
Talavera  ware,  or  figures  and  designs  in  colors.  . . . Also  in 
making  the  fine  wares  the  coloring  should  be  in  imitation  of  the 
Chinese  ware,  very  blue,  finished  in  the  same  style  and  with 
relief-work  in  blue” 

A critical  examination  of  the  collections  of  Puebla  pottery 
which  are  accessible  to  us  enables  us  to  divide  these  wares  into 

xiii 


THE  METROPOLITAN  MUSEUM  OF  ART 

four  classes,  based  on  their  distinctive  forms  and  characteristic 
decorations,  as  follows: 


1 . The  Moresque  style 

2.  The  Spanish,  or  Talavera,  style 

3.  The  Chinese  style 

4.  The  Hispano-Mexican,  or  Pueb- 

lan,  style 


Blue  monochrome. 


Polychrome. 


These  varieties  may  be  roughly  separated  into  two  groups,  the 
first  being  composed  of  those  examples  which  were  produced 


3 4 

BLUE  MONOCHROME 

TATTOOED  STYLE,  SHOWING  SPANISH  OR 
TALAVERAN  INFLUENCE 

previous  to  1800,  which  were  decorated  in  blue;  the  second  con- 
sisting of  those  pieces  which  were  made  during  the  nineteenth 
century,  which  were  painted  in  various  colors.  The  blue  color 
was  thickly  applied  and  stands  out  in  perceptible  relief,  a pecu- 
liarity which  enables  the  collector  to  distinguish  the  Mexican 
maiolica  from  the  Spanish,  which  latter  was  always  painted 
with  thin,  flat  pigments. 

In  the  Hispanized,  or  Talavera,  style,  of  the  second  class,  the 
Italian  influence  can  occasionally  be  traced.  It  is  known  that 
maiolists  went  from  Italy  to  Spain  in  the  seventeenth  century, 
and  it  is  not  surprising  that  the  pottery  of  Talavera  and  other 
maiolica  centers  of  the  latter  country  should  present  certain 


xiv 


MEXICAN  MAIOLICA 


resemblances  to  the  productions  of  Savona  and  Genoa.  The 
characteristics  of  the  early  Talavera  wares  of  Spain  are  the 
absence  of  metallic  lusters,  which  were  so  prominent  a feature 
in  the  products  of  Malaga  and  Valencia,  and  the  prevalence  of 
blue  color  in  the  white  enamel  of  the  ground.  Animal,  bird,  and 
human  forms  were  introduced,  in  combination  with  foliated  and 
floriated  ornaments,  frequently  crowded  together  without  regard 
to  position  or  fitness.  In  the  earlier  Mexican  maiolica  of  the 
Talavera  period  these  peculiarities  are  strongly  marked.  The 


20  29  25 

BLUE  MONOCHROME,  SHOWING 
SPANISH  OR  TALAVERAN  INFLUENCE 


influence  of  the  Malaga  or  Valencia  potters  does  not  appear  to 
have  penetrated  into  Mexico,  since  no  lustered  pieces  have  yet 
been  found  among  the  fabrications  of  Puebla. 

Although  these  four  modes  of  execution,  which  received  their 
inspiration  from  widely  divergent  sources,  were  well  marked, 
they  were  frequently  combined  in  the  same  pieces.  While,  on 
the  one  hand,  we  find  examples  which  in  form  and  design  are 
consistently  Spanish,  or  Oriental,  in  spirit,  on  the  other,  we  meet 
with  objects  of  Chinese  shape  with  ornamentation  in  Moorish, 
Spanish,  or,  occasionally,  Aztec  taste,  the  latter  having  been 
introduced  by  Indian  apprentices.  Large  bowls  and  barrel- 
shaped jardinieres  of  Spanish  form  are  frequently  decorated  in 


xv 


THE  METROPOLITAN  MUSEUM  OF  ART 


the  Chinese  manner.  It  is  owing  to  these  almost  limitless  varia- 
tions and  combinations  of  modeling  and  decorative  treatment 
that  the  study  of  Mexican  maiolica  possesses  such  absorbing  in- 
terest and  presents  so  many  surprises  to  the  ceramic  student. 

The  Talavera  style  of  Mexican  pottery  is  of  at  least  two  dis- 
tinct varieties.  The  earliest  is  that  to  which  we  have  applied 
the  term  tattooed,  in  which  the  ground  is  thickly  set  with  rudely 
painted  dots  and  dashes  in  dark  blue,  interspersed  with  small 
animal  motives  surrounding  the  principal  decorative  designs,  a 
style  which  flourished  between  about  1660  and  1700.  A pecu- 
liarity of  this  treatment  is  the  depressed  appearance  of  the 
tattooed  ornamentation,  the  color  having  sunk  into  the  surface 
of  the  white  enamel. 

Next  in  chronological  order  is  the  characteristic  decoration, 
found  principally  on  albarelli  and  spherical  jars,  in  which  birds, 
flowers,  and  conventional  devices  are  boldly,  but  rudely,  painted 
in  silhouette,  in  solid,  raised  dark  blue,  a method  of  treatment 
which  was  in  vogue  from  about  1700  to  1750. 

Of  the  third  class,  painted  in  blue  monochrome  or  camaieu, 
in  Chinese  taste,  four  different  styles  may  be  distinguished.  The 
first  of  these  is  characterized  by  solid  dark-blue  grounds,  thickly 
applied,  surrounding  figure  designs  reserved  in  the  white  sur- 
face. The  second  variety,  treated  in  the  opposite  manner,  is 
embellished  with  Chinese  figure  subjects  painted  on  the  white 
surface.  The  third  style  shows  European  figure  motives,  usually 
combined  with  Oriental  details,  while  the  fourth  consists  of  alter- 
nate white  and  blue  medallions  of  irregular  form,  ornamented 
with  floral  and  conventional  patterns,  painted  on  the  white 
field,  and  reserved  in  the  blue. 

The  rules  for  the  government  of  the  members  of  the  Potters’ 
Guild,  which  flourished  in  Puebla  in  the  seventeenth  century, 
throw  much  light  on  the  composition  of  the  early  wares.  The 
glaze  for  fine  pottery  contained  four  and  one-sixth  parts  of  lead 
to  one  of  tin,  a somewhat  less  proportion  of  the  latter  ingredient 
than  is  used  by  the  modern  Pueblan  potters.  In  consequence 
of  the  greater  care  exercised  in  the  preparation  of  materials, 


xvi 


MEXICAN  MAIOLICA 


however,  the  glaze  of  the  older  ware  is  more  even  and  homoge- 
neous than  that  of  the  present-day  maiolica.  For  the  common 
wares  the  glaze  consisted  of  twelve  and  a half  parts  of  lead  to 
one  of  tin.  Since  the  lead  was  incorporated  with  the  tin  before 
the  composition  was  applied  to  the  ware,  the  enamel  is  homo- 
geneous and  so  hard  that  it  can  only  with  difficulty  be  scratched 
with  a steel  point. 

A careful  study  of  the  bodv  of  Puebla  maiolica  reveals  the 


62  63 


BLUE  MONOCHROME,  SHOWING  CHINESE  INFLUENCE 

fact  that  the  clays  employed  were  apparently  of  two  kinds, 
white  and  red.  These  two  varieties  will  be  found  to  occur  in 
the  earliest  pieces  as  well  as  those  of  recent  date.  The  white 
body  is  much  softer  than  the  red,  the  difference  in  color  being 
caused  by  the  degree  of  heat  to  which  the  ware  was  subjected 
at  the  first  firing,  or  the  length  of  time  it  was  allowed  to  remain 
in  the  kiln.  When  baked  slightly  the  clay  appears  white  and 
porous,  and  so  soft  that  it  can  be  readily  cut  with  a knife;  but 
when  allowed  to  remain  longer  in  the  kiln,  at  a high  tempera- 
ture, it  becomes  partially  vitrified  and  considerably  harder,  and 
of  a deep  pink  or  reddish  hue,  increasing  in  density  with  the 
darkening  of  the  color.  Thus  the  tint  of  the  body  bears  no 
relation  to  the  antiquity  of  the  ware,  nor  does  it  indicate  the 


XVII 


THE  METROPOLITAN  MUSEUM  OF  ART 


locality  from  which  the  clay  was  obtained.1  It  is  true  that  two 
varieties  of  clay  are  used — wdiite  clay  obtained  at  San  Bartolo, 
San  Pedro,  and  Santo  Tomas,  hills  near  the  village  of  Toto- 
mehuacan,  five  kilometers  from  Puebla,  and  red  clay  from 
Loreto  and  Guadalupe,  in  the  vicinity  of  Puebla;  but  these  are 
always  combined  in  equal  parts  to  produce  the  results  desired. 
It  is  stated  that  no  other  combination  of  clays  is  employed  and 
that  neither  the  red  nor  the  wThite  clay  can  be  used  alone  with 
satisfactory  results. 

Since  it  is  to  be  presumed  that  the  law  requiring  the  marking 
of  pottery  during  the  existence  of  the  Potters’  Guild  in  Puebla, 
from  1653  to  1676,  was  strictly  observed,  we  would  expect  to 
find  pieces  of  that  period  bearing  the  registered  devices  of  their 
makers.  While  early  specimens  of  this  character  are  compara- 
tively rare  at  this  late  date,  numerous  marked  pieces  have  been 
found.  Among  these  private  marks  we  find  the  letter  F,  usually 
on  tiles  painted  with  human  figures  and  animals  in  Chinese 
taste.  The  representation  of  a bee  also  frequently  figures  among 
the  decorations  on  tiles  from  the  same  fabrique,  evidently  the 
private  device,  probably  standing  for  the  initial  of  the  name,  of 
a potter  or  decorator.  The  letters  “he”  are  painted  in  blue  on 
the  sides  of  ornate  jars.  Enormous  bowls,  or  basins,  sometimes 
bear  the  letters  C.  S.  A large  laver,  showing  Moorish  influence, 
is  marked  with  a cursive  A.  Among  the  other  devices  which 
have  come  to  light  are  a character  resembling  a florid  y,  the 
monograms  and  initials  To,  O R (the  O above  the  R),  M A,  the 
monograms  SCo  and  CAo  (the  o over  the  A)  in  black,  the  letter 
Z in  blue,  and  a brown  V with  the  figures  6 and  8 at  the  ends 
of  the  arms.  Some  of  the  more  important  pieces  bear  simple 
and  complex  crosses  scratched  in  the  paste  or  traced  in  blue  and 
extending  almost  entirely  across  the  bases.  All  of  the  dark-blue 

Mt  is  a curious  fact,  however,  that  many  of  the  best  pieces  of  the 
earlier  ware  were  only  slightly  fired  and,  as  a result,  possess  a light- 
colored  body,  which  in  some  instances  is  almost  as  soft  as  chalk,  but 
is  always  covered  with  a hard  enamel.  The  larger  and  coarser  pieces 
were  usually  burned  more  thoroughly  and  are  consequently  more 
vitreous  and  of  a darker  tint  beneath  the  glaze. 

xviii 


MEXICAN  MAIOLICA 


marks  occur  on  pieces  belonging  to  the  latter  half  of  the  seven- 
teenth century.  Those  in  black  and  brown  are  found  on  vessels 
belonging  to  the  first  half  of  the  nineteenth  century,  when  the 
marking  of  pottery  appears  to  have  been  revived.  In  the  ab- 
sence of  a complete  list  of  members  of  the  original  guild,  or  a 


ioo 

POLYCHROME  DECORATION,  SHOWING 
HISPANO-MEXICAN  OR  PUEBLAN  INFLUENCE 

directory  of  the  potters  of  the  early  nineteenth  century,  the 
e^act  significance  of  these  marks  has  not  yet  been  determined. 

Without  sufficient  authentic  records  we  can  only  fall  back  upon 
tradition  to  throw  light  on  the  extent  of  the  pottery  industry  in 
Mexico  during  the  seventeenth  and  eighteenth  centuries.  The 
great  numbers  of  early  pieces  which  have  survived  would  indi- 
cate the  existence  of  numerous  establishments  at  different  periods. 
Toward  the  middle  of  the  seventeenth  century,  according  to  the 
statements  of  some  of  the  older  potters,  whose  ancestors  for  sev- 


xix 


THE  METROPOLITAN  MUSEUM  OF  ART 


eral  generations  produced  maiolica  in  Puebla,  there  were  at  least 
ten  or  twelve  manufacturers  in  that  city.  About  1750,  when 
the  industry  had  reached  its  height,  some  thirty  potteries  were 
in  operation.  Bancroft,  in  his  “History  of  Mexico,”  informs  us 
that  in  1793  there  were  fifty-six  establishments  for  the  making 
of  glass  and  pottery,  but  that  the  number  was  reduced  to  eighteen 
at  the  beginning  of  the  nineteenth  century.  Toward  the  middle 
of  the  century  the  number  had  decreased  to  about  twelve.  At 
the  present  time  only  six  locerias  are  active,  where  the  common 
grades  of  utilitarian  wares  and  tiles,  entirely  devoid  of  artistic 
merit,  are  being  produced.  The  recent  demand  among  collectors 
for  early  pieces,  however,  has  encouraged  some  of  the  manufac- 
turers to  imitate  the  old  designs,  and  more  or  less  dangerous  for- 
geries are  frequently  met  with  in  the  curiosity-shops  of  Mexico. 

In  1900,  Senor  Enrique  L.  Ventosa  of  Puebla,  who  came  from 
Barcelona,  Spain,  having  obtained  his  art  education  in  Paris, 
commenced  to  elevate  the  modern  standard  of  the  art  by  reviv- 
ing many  of  the  old  designs.  His  work  is  characterized  by  con- 
scientious adherence  to  the  spirit  of  the  originals.  He  has  made 
a thorough  study  of  the  ancient  maiolica  of  Mexico,  and  his 
knowledge  of  the  old  Spanish  wares  has  enabled  him  to  combine 
in  his  productions  the  Mexican  and  Spanish  methods,  using  the 
motives  which  are  found  in  both,  to  originate  a style  which, 
while  based  on  the  traditions  of  the  Mexican  art,  is  so  distinctive 
in  treatment  that  it  can  be  recognized  without  difficulty. 

It  is  only  within  the  past  few  years  that  the  Mexicans  them- 
selves have  commenced  to  recognize  the  true  character  of  the 
tin-enameled  pottery  which  is  found  in  their  country.  Collectors 
in  various  parts  of  the  republic  have,  as  the  result  of  recent  dis- 
coveries, turned  their  attention  to  the  gathering  together  and 
preservation  of  these  remains  of  one  of  the  earliest  of  Hispano- 
Mexican  arts.  Of  these  local  collections,  that  formed  by  Mr. 
Albert  Pepper,  an  architect,  of  the  City  of  Mexico,  has  been 
recognized  for  many  years  as  one  of  the  most  important.  In 
the  Pennsylvania  Museum,  Philadelphia,  may  be  seen  a repre- 
sentative group  of  these  early  wares.  The  interest  in  this  sub- 


xx 


MEXICAN  MAIOLICA 


ject,  however,  has  not  been  confined  to  America,  for  we  learn 
that  European  collectors  have  lately  been  attracted  to  this  field 
of  research,  and  groups  of  Mexican  maiolica  have  already  been 
sent  to  Germany,  France,  and  England. 

Mrs.  Robert  W.  de  Forest,  who  for  many  years  has  been  en- 


128 

POLYCHROME  DECORATION,  NATIVE 
MEXICAN  AND  CHINESE  STYLE 

gaged  in  collecting  the  folk  pottery  of  all  peoples,  during  a trip 
to  Mexico  in  1904  became  interested  in  the  pottery  of  Puebla, 
and  at  that  time  gathered  together  the  nucleus  of  her  present 
collection.  Through  the  assistance  of  Mrs.  Zelia  Nuttall  of  Coyo- 
acan,  she  has  been  able  to  add,  from  time  to  time,  many  rare 
and  valuable  examples,  and  her  recent  acquisition  of  the  well- 
known  collection  of  Mr.  Albert  Pepper  has  made  her  collection 
one  of  the  most  extensive  and  representative  of  its  kind.  It  is 
particularly  rich  in  polychrome  pieces,  dating  from  about  1800 


xxi 


THE  METROPOLITAN  MUSEUM  OF  ART 


to  i860,  of  which  Nos.  67,  68,  69,  73,  and  85  are  especially  note- 
worthy. Among  the  earlier  pieces,  in  dark  blue,  special  atten- 
tion is  called  to  Nos.  9,  57,  and  61. 

The  maiolica  of  Mexico,  crude  and  inartistic  as  it  frequently 
appears,  possesses  an  element  of  manly  vigor,  in  the  boldness 
of  its  modeling  and  decorative  treatment,  which  gives  it  an  in- 
dividuality of  its  own.  The  reflection  of  the  virile  art  of  Spain, 
combined  with  the  refining  influence  of  Oriental  traditions,  re- 
sulted in  the  development  of  a composite  style  of  pottery,  which 
at  its  best  period,  between  1650  and  1750,  was  quite  distinct 
from  the  wares  produced  in  any  other  country. 

Edwin  AtLee  Barber. 


XXII 


CATALOGUE 

OF 

MEXICAN  MAIOLICA 


CATALOGUE  OF 
MEXICAN  MAIOLICA 

I 

OBJECTS  SHOWING  MORESQUE  INFLUENCE 
BLUE  AND  WHITE  DECORATION 
1575-1700 

i BOWL  OR  LAVER.  Decoration  of  strapwork  and  loop- 
work  in  heavy  raised  blue  enamel  outlined  in  black.  In- 
scription around  the  rim,  “Soy  para  labar  los  puryfy- 
cadores  y no  mas”  (I  am  for  the  washing  of  the  purificators 
and  no  other  purpose).  About  1650. 

D.  20%4  in.  Acc.  No.  1 2.3.1.  Illustrated  as  the  frontispiece 
on  page  iv.  See  head-band  above.  Published  by  Dr.  Bar- 
ber in  Art  in  America,  vol.  Ill,  page  23. 


3 


OBJECTS  SHOWING  SPANISH  OR  TALAVERAN 
INFLUENCE 

(a)  TATTOOED  STYLE 
165O-I7OO 

2 BOTTLE-SHAPED  VASE.  Fern  leaf,  bird,  and  animal 
motives  in  raised  dark  blue.  About  1700. 

H.  10^4  in.  Acc.  No.  11.87.27.  From  the  Pepper  Collec- 
tion. 

3 JAR  with  six  serpentine  handles.  Fern  leaf  and  bird  deco- 
ration in  dark  blue.  About  1660-1680. 

H.  9 in*  Acc.  No.  11.87.2.  Illustrated  on  page  xiv. 
See  head-band  above.  From  the  Pepper  Collection. 

4-5  PAIR  OF  JARS.  Fern  leaf,  floral,  and  bird  decoration  in 
dark  blue.  Marked  “h  e’\  Reserved  white  label  for  name. 
About  1660-1680. 

H.  iofHi  in.  Acc.  Nos.  11.87.1  and  17.108.3.  Illustrated 
on  page  xiv.  From  the  Pepper  Collection. 

6 LID  OF  JAR.  Decorated  in  dark  blue,  with  fern  leaves, 
hares,  and  fishes.  About  1680. 

D.  io^  in.  Acc.  No.  11.87.5. 


4 


THE  METROPOLITAN  MUSEUM  OF  ART 

7 PLATE.  Decorated  with  the  figure  of  a man  carrying  a 
banner,  in  dark  blue.  Marked  “Z”.  About  1670. 

D.  8 in.  Acc.  No.  1 1.87.4.  From  the  Pepper  Collection. 

8 LARGE  PLATE  OR  PLAQUE.  Fern  leaf,  bird,  animal, 
and  flower  decoration  in  dark  blue.  About  1680. 

D.  14  in.  Acc.  No.  1 1.87.6. 
From  the  Pepper  Collection. 

9  LAVER.  Central  figure 
of  a woman  surrounded 
by  fern  leaf  and  bird 
designs  in  dark  blue. 
Marked  “h  e”.  About 
1660-1680. 

D.  2o}4  in.  Acc.  No. 
11.87.3.  See  head-band, 
page  ix.  From  the  Pepper 
Collection. 

(b)  OTHER  STYLES 
17OO-I75O 

10  ALBARELLO  or  drug  jar.  Conventional  decoration,  palm 
tree,  house,  etc.,  in  dark  blue.  Arms  of  a Franciscan  con- 
vent in  brown.  About  1700-1730. 

H.  8^4  in.  Acc.  No.  1 1.87.11. 

11  CHOCOLATE  JAR.  Conventional  and  bird  decoration. 
Iron  collar;  lid  and  lock  missing.  About  1700. 

H.  10 in.  Acc.  No.  11.87.7. 

12  ALBARELLO  or  drug  jar.  Conventional  floral  decoration 
in  dark  blue.  Reserved  white  label  for  name.  About  1700. 
H.  10J/2  in.  Acc.  No.  11.87.9. 

13  ALBARELLO  or  drug  jar.  Conventional  floral  decoration. 
About  1700. 

H.  in.  Acc.  No.  1 1.87.10. 

6 


7 


MEXICAN  MAIOLICA 


14  ALBARELLO  or  drug  jar.  Conventional  bird  and  floral 
decoration  in  dark  blue.  About  1700-1750. 

H.  in.  Acc.  No.  11.87. 12. 

15  ALBARELLO  or  drug  jar.  Fern  leaf  decoration  in  raised 
blue.  About  1750. 

H.  9F4  in.  Acc.  No.  1 1.87.14.  From  the  Pepper  Collection. 


9 


16  LARGE  JAR.  Conventional  bird  and  floral  decoration  in 
dark  blue.  About  1700. 

H.  16  in.  Acc.  No.  11.87.8.  From  the  Pepper  Collection. 

17  INKSTAND.  Hexagonal  form.  Conventional  floral  dec- 
oration in  dark  blue.  About  1750. 

D.  4 in.  Acc.  No.  1 1.87.19. 


7 


THE  METROPOLITAN  MUSEUM  OF  ART 

18  INKSTAND.  Hexagonal  form.  Conventional  floral  dec- 
oration in  dark  blue.  About  1750. 

D.  3^  in.  Acc.  No.  17.108.28.  From  the  Pepper  Collec- 
tion. 

(c)  1750-1800 

19  CYLINDRICAL  JAR.  Conventional  decoration  in  dark 
blue.  About  1750-1780. 


H.  in.  Acc.  No.  17.108.1. 

i 

14 

10 

12 

20  ALBARELLO  or  drug  jar.  Raised  blue  decoration.  White 
label  for  name.  About  1750-1800. 

H.  9 in.  Acc.  No.  17.108.2.  Illustrated  on  page  xv. 

21  ALBARELLO  or  drug  jar.  Raised  blue  decoration.  White 
label  for  name.  About  1750-1800. 

H.  9 in.  Acc.  No.  11.87.34. 

22  JAR.  Ornamental  bands  with  reserved  white  scrollwork  in 
blue  ground.  About  1750. 

H.  6%  in.  Acc.  No.  17.108.4. 

8 


MEXICAN  MAIOLICA 


23  ALBARELLO  or  drug  jar.  Bands  of  conventional  decora- 
tion in  dark  blue.  About  1750-1800. 

H.  10^  in.  Acc.  No.  11.87. 15.  See  head-band,  page  vii. 
From  the  Pepper  Collection  (?). 

24  BASIN.  Conventional  decoration  in  raised  blue.  About 
1800. 

D.  in.  Acc.  No.  11.87.23. 

25  ALBARELLO  or  drug  jar.  Bird  and  hare  motives  in  dark 


blue.  About  1750-1800.  This  jar  shows  traces  of  having 
been  covered  with  silver,  and  was  evidently  used  at  one 
time  as  a flower  vase  in  a church  or  a convent. 

H.  10  in.  Acc.  No.  1 1.87.13.  Illustrated  on  page  xv. 

26  BOWL.  Conventional  ornament  in  blue.  About  1750-1800. 
D.  15  in.  Acc.  No.  11.87.33.  From  the  Pepper  Collection. 

27  BOWL  with  two  handles.  Fern  leaf  decoration  in  blue. 
About  1750-1800. 

H.  3*k6  in.  Acc.  No.  1 1.87.22.  From  the  Pepper  Collection. 

28  SPHERICAL  JAR.  Blue  decoration,  with  the  arms  of  a 
house  of  the  Hospitallers  (Brothers  of  Mercy)  in  brown, 
green,  and  orange.  About  1775-1800. 

H.  iojM$  in.  Acc.  No..  1 1.87.17. 


22 


24 


9 


THE  METROPOLITAN  MUSEUM  OF  ART 


29  JAR.  Conventional  bird  and  floral  decoration.  About 
1750-1800. 

H.  0^/2  in.  Acc.  No.  1 1.87.16.  Illustrated  on  page  xv. 

30-31  PAIR  OF  BARREL-SHAPED  JARDINIERES.  Con- 
ventional bird  and  checker-board  decoration  in  dark  blue. 

Acc.  Nos.  11.87.18  and  17. 108.15. 

32  ALBARELLO  or  drug  jar. 
Raised  blue  decoration. 
White  label  for  name.  About 
1750-1800. 

H.  5 in.  Acc.  No.  17.108.13. 

33  SAND-SHAKER.  Hexago- 
nal form.  Conventional  floral  decoration  in  dark  blue. 
About  1750. 

D.  3^  in.  Acc.  No.  11.87.20. 

34  SAND-SHAKER.  Hexagonal  form.  Conventional  floral 
decoration  in  dark  blue.  About  1750-1780. 

D.  3 in.  Acc.  No.  17.108.27. 

35  PANEL  OF  TILES.  Blue  and  white  decoration  in  radiating 
star-shaped  and  serpentine  patterns.  Similar  tiles  are  found 
in  the  Convent  of  Santa  Rosa,  Puebla,  and  in  the  church 
of  San  Francisco,  Acatepec.  XVII-XVIII  century. 

53  x 43/^  in.  Acc.  No.  17.108.34. 

(d)  1800-1825 

36  BOWL.  Conventional  floral  decoration  in  dark  blue.  About 
1800. 

H.  10^4  in.  Acc.  No.  1 1.87.21.  From  the  Pepper  Collec- 
tion. 


About  1750-1780. 

H.  13^6  in.  and  15^$  in. 


10 


28 


THE  METROPOLITAN  MUSEUM  OF  ART 


37  JUG  with  handle.  Conventional  decoration  in  blue.  About 
1800. 

H.  8J^  in-  Acc.  No.  17.108.6. 

38  SALT-CELLAR.  Blue  decoration.  About  1840. 

H.  2^/i  in.  Acc.  No.  11.87.32. 

39  SALT-CELLAR.  Blue  decoration.  About  1825. 

H.  in.  Acc.  No.  17.108.7. 

40  JUG.  Decorated  in  raised  blue.  Inscribed,  “El  que  no  ba, 
enbia  con  su  gavito  a la  pulqueria”  (He  who  can  not  go, 
sends  his  jug  to  the  pulque  shop).  About  1800. 

H.  7L4  in.  Acc.  No.  11.87.65. 

41  COVERED  JAR  with  handles.  Fern  leaf  and  conventional 
floral  decoration  in  dark  blue.  About  1800. 

H.  6 in.  Acc.  No.  17.108.10  a , b.  From  the  Pepper  Col- 
lection. 

42  BENITIER.  Blue  decoration.  XIX  century. 

H.  6^2  in.  Acc.  No.  17.108.9.  From  the  Pepper  Collection. 

43-44  PAIR  OF  SQUARE  BOTTLES.  Decorated  with  fig- 
ures of  birds  and  buildings  in  dark  blue.  XIX  century. 

H.  6J^>  in.  Acc.  No.  17.108.11-12. 

45  BENITIER.  Blue  decoration  of  plants  and  a cross  in  re- 
lief. X I X century. 

H.  7^  in.  Acc.  No.  11.87.31. 

46  BOTTLE.  Double-gourd-shape.  Conventional  floral  deco- 
ration in  blue.  About  1800. 

H.  7%  in.  Acc.  No.  1 1.87.30.  From  the  Pepper  Collection. 

47  ALBARELLO  or  drug  jar.  Fern  leaf  decoration  in  blue. 
About  1800-1825. 


12 


30 


THE  METROPOLITAN  MUSEUM  OF  ART 

H.  io}4  in.  Acc.  No.  17. 108.14.  From  the  Pepper  Collec- 
tion. 

48  ALBARELLO.  Conventional  and  floral  decoration  in  blue. 
About  1800. 

H.  7^6  in.  Acc.  No.  11.87.29. 

49  PLATE.  Conventional  floral  designs  in  dark  blue.  About 
1800. 

D.  7 in.  Acc.  No.  17.108.29.  From  the  Pepper  Collection. 


50  PLATE.  Conventional  floral  designs  in  dark  blue.  About 
1800. 

D.  7^  in.  Acc.  No.  11.87.28. 

51  PLATE  with  scalloped  edge.  Conventional  floral  decora- 
tion in  blue.  About  1825. 

D.  8 ?4  in.  Acc.  No.  11.87.25. 

52  PLATE  with  scrolled  edge  and  fluted  cavetto.  Conven- 
tional floral  decoration  in  dark  blue.  About  1800-1825. 

D.  8%  in-  Acc.  No.  1 1.87.24.  From  the  Pepper  Collection. 

53  PLATE  OR  DISH.  Decorated  with  conventional  orna- 
ments and  mosque-shaped  building  in  dark  blue.  About 
1800. 


14 


17 


38 


39 


THE  METROPOLITAN  MUSEUM  OF  ART 


D.  13^4  in.  Acc.  No.  17.108.26.  From  the  Pepper  Collec- 
tion. 

54  PLATE  with  scalloped  edge.  Conventional  design  of  build- 
ing and  trees  in  dark  blue.  About  1800. 

D.  in.  Acc.  No.  11.87.26.  From  the  Pepper  Collec- 
tion. 

55  PLATE  with  scalloped  edge.  Conventional  floral  decora- 
tion. About  1800. 

D.  7 yi  in.  Acc.  No.  17.108.25.  From  the  Pepper  Collec- 
tion. 


45 


16 


OBJECTS  SHOWING  CHINESE  INFLUENCE 

165O-175O 

56  BARREL-SHAPED  JARDINIERE.  Reserved  flower  me- 
dallions in  blue  ground.  The  form  of  the  vessel  is  Spanish, 
but  the  decoration  reveals  Oriental  influence.  About  1700- 
1750. 

H.  17  in.  Acc.  No.  11.87.40. 


57  VASE  with  floral  decorations  painted  in  white  reserved 
medallions  surrounded  by  deep  blue  ground  containing  re- 
served white  ornamentation.  The  form  and  decorative 
treatment  are  strongly  Oriental.  About  1680-1700. 

H.  14^  in.  Acc.  No.  11.87.36.  From  the  Pepper  Collec- 
tion. 

58  BARREL-SHAPED  FLOWER  POT.  Floral  designs 
painted  in  white  medallions  surrounded  by  dark  blue  ground. 
The  shape  is  Spanish,  but  the  decoration  shows  Chinese 
influence.  About  1750. 

H.  5^  in.  Acc.  No.  1 1.87.37.  See  head-band  above. 

59  URN-SHAPED  FLOWER  VASE.  Blue  conventional  deco- 
rations showing  Chinese  influence.  About  1750. 

H.  12^  in.  Acc.  No.  11.87.39. 


17 


THE  METROPOLITAN  MUSEUM  OF  ART 


6o  BARREL-SHAPED  JARDINIERE.  Paintings  of  men  in 
Spanish  and  Chinese  costumes,  in  reserved  white  medal- 
lions, alternating  with  irregular  blue  medallions  containing 
reserved  white  decorations.  The  figures  in  the  four  medal- 


60 

lions  represent  a Chinaman  carrying  a jar,  a man  looking 
through  a telescope,  a Spaniard  playing  a guitar,  and  a 
man  in  Chinese  garb  with  arms  outstretched.  The  deco- 
rations show  Chinese  influence.  About  1700-1750. 

H.  18  in.  Acc.  No.  1 1.87.41.  From  the  Pepper  Collection. 


20 


MEXICAN  MAIOLICA 


61  LAVER.  Around  the  sides  are  white  medallions  with  bas- 
kets of  flowers  in  Chinese  taste.  In  the  center  is  the  double- 
headed, crowned  eagle  of  the  Austrian  dynasty.  This  inter- 
esting piece,  which  is  decorated  in  heavy  blue,  reveals  the 
combination  of  the  Spanish  and  Chinese  influences.  About 
1680-1700. 

D.  17^  in.  Acc.  No.  11.87.35. 


61 


62-63  PAIR  OF  OVAL  DISHES.  Figure  decoration  in  Chinese 
style.  About  1830. 

L.  18  in.  Acc.  Nos.  11.87.38  and  17.118(F).  Illustrated  on 
page  xvii. 


21 


IV 

OBJECTS  SHOWING  HISPANO-MEXICAN  OR  PUEBLAN 
INFLUENCE 

POLYCHROME  DECORATION 
I 800- I 9OO 

64  PLATE.  Decorated  in  yel- 
low and  raised  blue.  About 
1800. 

D.  8yi  in.  Acc.  No.  1 1.87.63. 

65  JAR  COVER.  Polychrome 
decoration — dark  blue,  yel- 
low, green,  and  mauve.  Mod- 
eled knob  in  form  of  fruit. 
This  example  shows  the  tran- 
sition from  the  blue  to  the 

polychrome  decoration  and  dates  from  about  1800. 

D.  14  in.  Acc.  No.  17. 108. 16.  From  the  Pepper  Collection. 

66  GLOBULAR  JAR  with  polychrome  decoration — dark  blue, 
yellow,  green,  brown,  and  rose  color.  The  shoulder  is  deco- 
rated with  the  raised  dark  blue,  containing  reserved  white 
ornaments.  The  body  is  embellished  with  vertical  bands 
alternately  white  and  yellow,  with  colored  ornamentation. 
This  interesting  piece  marks  the  transition  from  the  mono- 


22 


MEXICAN  MAIOLICA 


chrome  blue  to  the  colored  style  of  decoration  and  dates 
from  about  1800. 

H.  11  in.  Acc.  No.  11.87.46. 

67  WATER  JAR  with  two  handles. 

Decorated  in  polychrome — green, 
blue,  yellow,  brown,  and  rose. 

Around  the  center  are  painted 
figure  scenes  from  Indian  life. 

An  Indian  carrying  two  water 
vessels  is  approaching  a well. 

A Mexican  is  shown  carrying  two 
jugs,  while  beside  him  a boy  is 
ascending  a ladder  leading  to  an 
upper  window  of  a house.  On 
the  other  side  two  water  carriers  are  fighting,  while  in  front 
is  the  representation  of  a well.  Between  the  figures  are 
trees  and  vines  with  convolvulus  blossoms. 

The  roseor  mauve 
color  was  not  intro- 
duced into  Mexican 
maiolica until  thebe- 
ginning  of  the  nine- 
teenth century. 

This  interesting 
piece  and  number 
68  are  of  about  that 
period  and  were  dug 
up  in  a patio  in 
Queretaro,  where 
they  seem  to  have 
been  buried  for 
about  a century. 

H.  17^  in.  Acc.  No.  11.87.42. 


68  WATER  JAR  with  handles,  a companion  to  the  preceding. 

23 


THE  METROPOLITAN  MUSEUM  OF  ART 


Similar  colors  have  been  used  in  the  decoration,  but  the  fig- 
ure scenes  are  somewhat  different.  At  the  front  is  a similar 
design  of  a well,  by  the  side  of  which  a woman  stands.  An- 
other woman  is  shown  grinding  corn  on  a stone  metate, 
while  a third  woman  is  carrying  water  and  leading  a boy 
who  is  filling  a jug  at  a well.  The  same  house  with  a ladder 
is  shown,  the  sash  of  the  upper  window  being  closed.  The 
man  stands  at  the  base  of  the  ladder,  with  a key  in  one 


hand  and  a staff  in  the  other.  Approaching  him  is  a man 
bearing  water  vessels.  About  1800. 

H.  17^  in.  Acc.  No.  11.87.43. 

69  LAVER  OR  BASIN.  Figure  decoration  in  polychrome — 
red,  green,  yellow,  and  brown — representing  “The  Baptism 
of  the  Saviour.”  About  1800. 

D.  12^2  in.  Acc.  No.  11.87.45.  From  the  Pepper  Collec- 
tion. 

70  PANEL  OF  TILES.  Polychrome  center  bordered  by  blue 
and  white  tiles  of  radiating  pattern.  Tiles  similar  to  those 
of  border  are  found  in  the  church  of  San  Francisco,  Aeate- 
pec,  Mexico.  XVIII-XIX  century. 

53x41  in.  Acc.  No.  17.108.35. 


24 


THE  METROPOLITAN  MUSEUM  OF  ART 


71  LARGE  DISH.  Polychrome  decoration — pale  green,  pink, 
and  black.  The  central  design  is  a house  surrounded  by 
trees.  About  1825. 

D.  14^  in.  Acc.  No.  11.87.50. 

72  BARREL-SHAPED  MUG.  Decorated  in  dark  blue  and 
polychrome  on  pale  blue  ground.  About  1820. 

H.  9 in.  Acc.  No.  11.87.74. 

73  COVERED  BOWL.  Decoration  in  green,  brown,  and  rose. 
Inscription,  “Viva  Fernando  7.”  About  1820. 

The  ornamentation  consists  of  roses  painted  in  a peculiar 
mauve  tone,  and  was  evidently  done  during  the  reign  of 
Ferdinand  VII  of  Spain,  which  extended  from  1808  to  1833. 
This  is  an  excellent  example  of  this  rare  and  beautiful  color. 
D.  9 in.  Acc.  No.  11.87.44.  From  the  Pepper  Collection. 

4-75  PAI R OF  SALT-CELLARS.  Decorated  in  dark  blue  and 
polychrome  on  pale  blue  ground.  About  1820. 

H.  in.  Acc.  Nos.  17.108.19  and  11.87.70.  From  the 
Pepper  Collection. 

76  SMALL  TEA-POT.  Decorated  in  dark  blue  and  poly- 
chrome on  pale  blue  ground.  About  1830. 

H.  4^4  in.  Acc.  No.  1 1.87.73.  From  the  Pepper  Collection. 

77  COVERED  BOWL  with  fluted  sides  decorated  in  mauve 
and  green.  About  1825. 

D.  5^  in.  Acc.  No.  11.87.48.  From  the  Pepper  Collection. 

78  LARGE  DISH.  Polychrome  decoration — green,  yellow, 
rose,  and  black.  Period  of  about  1820.  Marked  “CA,” 
with  an  “o”  over  the  “A,”  in  black. 

D.  14^  in.  Acc.  No.  11.87.49.  From  the  Pepper  Collec- 
tion. 

9-80  PAIR  OF  PLATES  with  scalloped  edge.  Border  deco- 
ration in  mauve  and  pale  blue.  Central  motive  is  a pillar 
26 


MEXICAN  MAIOLICA 


taken  from  the  arms  of  the  Convent  of  the  Ensenanza, 
Mexico  City.  About  1825. 

D.  in.  Acc.  Nos.  11.87.47  and  17.108.32.  From  the 
Pepper  Collection. 

81  LARGE  DISH.  Polychrome  decoration — green,  mauve, 
yellow,  and  black.  About  1825.  A monogram  consisting 
of  the  letters  “C  S,”  followed  by  a small  “o.” 

D.  I4f^in.  Acc.  No.  17.108.30.  From  the  Pepper  Collection. 


85 


82  LARGE  PLATE  with  scalloped  edge.  Dark  blue  and  poly- 
chrome decoration  on  pale  blue  ground.  About  1820. 

D.  15^  in.  Acc.  No.  1 1.87.69.  From  the  Pepper  Collection. 

83  LARGE  PLATE  with  scalloped  edge.  Dark  blue  and  poly- 
chrome decoration  on  pale  blue  ground.  About  1820. 

D.  13^  in.  Acc.  No.  18.36. 

84  BEN  I TIER.  Decorated  in  dark  blue,  yellow,  and  green 
on  pale  blue  ground.  About  1820. 

H.  10  in.  Acc.  No.  11.87.72.  From  the  Pepper  Collection. 
27 


THE  METROPOLITAN  MUSEUM  OF  ART 


85  LARGE  BOWL  with  fluted  sides.  Decorated  in  dark  blue 
and  polychrome  on  pale  blue  ground.  Central  design,  a 
man  on  horseback.  About  1820.  Marked  “C  S.” 

D.  14^4.  in.  Acc.  No.  11.87.68.  From  the  Pepper  Col- 
lection. 

86  TILE  LAVATORY,  containing  three  lavers,  or  basins, 
decorated  in  polychrome,  with  vases  of  flowers  and  a car- 
touche of  the  arms  of  a Franciscan  house.  About  1830 

H.  54^  in.;  L.  83  in.;  W.  25^2  in.  Acc.  No.  17.83. 

87  LARGE  VASE-SHAPED  JARDIN- 
IERE. Dark  blue  and  polychrome  on 
pale  blue  ground.  About  1830. 

H.  26  in.  Acc.  No.  11.87.76. 

88  URN-SHAPED  JARDINIERE  with 
two  handles.  Dark  blue  and  polychrome 
on  pale  blue  ground.  About  1830. 

H.  12^  in.  Acc.  No.  17. 108. 18. 

89  LARGE  BOWL  on  foot,  with  handles  modeled  in  the  form 
of  human  heads.  Decorated  in  red,  yellow,  green,  black, 
and  mauve.  About  1835. 

H.  7 yi  in.  Acc.  No.  11.87.55. 

90  JAR-SHAPED  CUP  with  two  handles.  Decorated  in  dark 
blue  and  polychrome  on  pale  blue  ground.  About  1830. 

H.  4’y&  in.  Acc.  No.  1 1.87.71.  From  the  Pepper  Collection. 

91  LARGE  BOWL.  Dark  blue  and  polychrome  on  pale  blue 
ground.  About  1830. 

D.  17^  in.  Acc.  No.  11.87.75. 

92  BARREL-SHAPED  JARDINIERE.  Yellow  and  green 
decoration.  About  1830. 

H.  1 ij^2  in.  Acc.  No.  1 1.87.61. 

28 


84 


8y 


88 


THE  METROPOLITAN  MUSEUM  OF  ART 


93  SAND-SHAKER.  Decorated  in  blue,  yellow,  and  black. 
About  1830. 

D.  3^2  in.  Acc.  No.  1 1.87.59.  From  the  Pepper  Collection. 

94  LARGE  CANDLESTICK  in  the  form  of  a sitting  dog. 
White  glaze  and  decorations  in  red  and  green  paint  and 
gilding.  This  was  probably  used  in  a church  or  convent. 
About  1830. 

H.  15^  in.  Acc.  No.  11.87.78.  From  the  Pepper  Collec- 
tion. 


91 

95  JAR.  Decorated  in  red,  yellow,  and  green.  About  1830. 
H.  14  in.  Acc.  No.  11.87.53. 

96  LARGE  PLATE.  Decorated  in  blue,  green,  and  black  on 
yellow  ground.  About  1830.  Marked  “O,”  in  black. 

R 

D.  13^  in.  Acc.  No.  11.87.67. 

97  SMALL  BOWL-SHAPED  JARDINIERE  or  tazza  with 
two  handles.  Decorated  in  green,  yellow,  black,  and  brick 
red.  About  1840. 

D.  5^  in.  Acc.  No.  1 1.87.51.  See  head-band,  page  22. 

32 


MEXICAN  MAIOLICA 


98  BOWL  with  handles.  Polychrome  decoration — red,  green, 
and  black.  About  1845. 

D.  4^  in.  Acc.  No.  17. 108. 17.  From  the  Pepper  Collec- 
tion (?). 

99  JUG  with  red,  yellow,  green, 
and  black  ornamentation. 

About  1840. 

H.8>£in.  Acc.  No.  1 1.87.52. 

100  LAVER  OR  BOWL.  Poly- 
chrome decoration — red, 
yellow,  green,  and  brown. 

About  1840. 

D.  18  in.  Acc.  No.  1 1.87.62. 

Illustrated  on  page  xix. 

1 01  BOWL.  Blue  decoration. 

About  1840. 

D.  9^  in.  Acc.  No. 

17.108.20.  From  the  Pep- 
per Collection. 

102  COVERED  JAR.  Poly- 
chrome decoration.  About  1840-1860. 

H.  1 in.  Acc.  No.  17.108.24  a,  b. 

103  SPHERICAL  JAR.  With  a coat  of  arms  in  brown  on 
a bright  yellow  ground.  About  1840. 

H.  1 \%  in.  Acc.  No.  11.87.64. 

104  LARGE  BOWL.  Decorated  in  yellow,  green,  black,  mauve, 
and  red.  About  1840. 

D.  15^  in.  Acc.  No.  11.87.54. 

105  BENITIER.  Brown  decoration.  From  Convent  of  Santa 
Cruz,  Queretaro,  Mexico.  About  1840. 

H.  9 in.  Acc.  No.  17.108.33. 


33 


THE  METROPOLITAN  MUSEUM  OF  ART 


106  INKSTAND.  Circular  form.  Decorated  in  red  and  green 

About  1840. 

D.  3^4  mb.  A oc.  No.  n 1.87.58.  From  the  Pepper  Goflection 


97  9® 


107  PLATE.  Ydkm.  green.  and  Hack.  Central  design  a par- 
rot. About  1840. 

D.  mb-  Aoc.  No.  11.S7.60.  From  the  Pepper  Gofflection- 


109  102  1 10 


108  PLATE.  Polychrome  decoration  on  pale  Wue  ground. 
About  1S40.  Marked  ‘TV’  in  black 

R 

D.  83^  in.  Aoc.  No.  17. 108.31. 

109  LARGE  DISH.  Polychrome  decora  tic© — red,,  green,  and 
yeflow.  .About  1840. 

D.  14^4  bib.  Acc.  No.  11J87.57.  From  the  Pepper  Coflec- 
tion. 

34 


THE  METROPOLITAN  MUSEUM  OF  ART 

no  BOWL.  Blue  conventional  decoration.  About  1840. 

D.  13^4  in.  Acc.  No.  11.87.66. 

in  ALBARELLO  or  drug  jar.  Blue  glaze.  About  1840. 

H.  1 1^4  in.  Acc.  No.  17.108.5. 

1 12  ALBARELLO  or  drug  jar.  Blue  glaze. 
About  i860. 

H.  in.  Acc.  No.  17.108.8. 

1 13  BOWL  with  polychrome  decoration. 

D.  8%  in.  Acc.  No.  17. 108.21. 

1 14  BOWL.  Polychrome  decoration. 

D.  8 Y4  in.  Acc.  No.  17.108.22. 

1 15  DISH.  Conventional  polychrome  designs. 
D.  9 in.  Acc.  No.  17.108.23. 

116  CYLINDRICAL  JAR  with  handles. 
Polychrome  decoration.  About  1865. 

H.  tf/4  in.  Acc.  No.  1 1.87.80. 

1 17  JAR.  Polychrome  decoration.  XIX  century. 

H.  7 in.  Acc.  No.  1 1.87.81. 

1 18  SPHERICAL  JAR  OR  JUG.  Decorated  with  red,  yellow, 
green,  and  black.  Inscribed  “Antonio  Lopes,”  in  black. 
About  i860. 

H.  7 in.  Acc.  No.  11.87.56. 

1 19  CYLINDRICAL  JAR  with  handles.  Polychrome  figure 
decoration.  About  1865. 

H.  8J4>  in.  Acc.  No.  1 1.87.79. 

120  INKSTAND.  Polychrome  decoration.  Curious  shape. 
About  i860. 

H.  in.  Acc.  No.  1 1.87.82.  From  the  Pepper  Collection. 
36 


MEXICAN  MAIOLICA 


1 21  BEN  I TIER.  Yellow,  blue,  and  green  decoration.  XIX 
century. 

H.  i2^i  in.  Acc.  No.  11.87.77. 


1 16 

122  LARGE  FLUTED  BOWL.  Polychrome  decoration. 
D.  13^  in.  Acc.  No.  11.87.86. 


123  BAPTISMAL  BASIN.  Decorated  in  polychrome  with  the 
subject  “The  Baptism  of  the  Saviour.” 

D.  1 in.  Acc.  No.  11.87.85. 

124  PLATE.  Polychrome  decoration.  Figure  of  a woman  in 
the  center.  XIX  century. 

D.  7 in.  Acc.  No.  11.87.83. 

37 


THE  METROPOLITAN  MUSEUM  OF  ART 


125  LAVER  OR  BOWL.  Polychrome  floral  decoration.  About 
1850. 

D.  19^  in.  Acc.  No.  11.87.84. 

126  JAR.  Modern  copy  by  Ventoso  of  eighteenth-century  piece 
in  tattoo  style.  XX  century. 

H.  9^4  in.  Acc.  No.  12.3.2. 


38 


125 


V 

NATIVE  MEXICAN  AND  CHINESE 
XIX  CENTURY 

127  OVAL  SHAVING-DISH  of  red  clay,  covered  with  white 
slip  with  incised  floral  ornaments  in  ed  and  green.  Gua- 
najuato, about  1830. 

L.  13  in.;  W.  io}4  in.  Acc.  No.  11.87.87.  See  head-band 
above. 


128  LARGE  DISH  OR  PLATE 
of  red  clay,  covered  with  in- 
cised ornaments  representing 
a vase  of  flowers  and  birds  in 
green  and  brown.  Guanajuato, 
about  1830. 

D.  12^  in.  Acc.  No.  1 1.87.88. 
Illustrated  on  page  xxi. 


129  FIGURE  OF  A DEER  in  sit- 
ting attitude.  Two  holes  in 
the  head  indicate  that  antlers, 
made  separately,  were  in- 
tended to  be  inserted.  This  curious  example,  found  in 
Mexico,  was  probably  brought  from  China  and  is  not  of 
Mexican  workmanship.  Large  quantities  of  Chinese  pot- 


40 


MEXICAN  MAIOLICA 


tery  and  porcelain  were  imported  into  Mexico  in  the 
seventeenth,  eighteenth,  and  nineteenth  centuries. 

11.  8 in.  Acc.  No.  11.87.89. 


41 


OF  THIS  CATALOGUE 
1,000  COPIES  WERE  PRINTED 
JUNE,  1918 

1,000  ADDITIONAL  WERE  PRINTED 
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